ASPP’s Newsfeed is a curated set of stories for the image-creating and ‑buying public. Items are sourced from various feeds, blogs, and industry magazines, and selected based on what we think you will find useful or interesting. Some stories will appear in their entirety; others will be linked to their sources, sometimes behind a paywall. Your comments are welcome below. If you know of other sources, please forward them to firstname.lastname@example.org.
Mankind Takes First Step Towards Good Low-Light Cellphone Photography
Google software engineer Florian Kainz has devised an app for taking DSLR-quality nighttime photos with one’s cell phone. Building on the work of his co-worker’s SeeInTheDark app, Florian built an app that can manually regulate his phone’s exposure time, ISO, and focus distance.
“How far can we go? Can we take a cellphone photo with only starlight – no moon, no artificial light sources nearby, and no background glow from a distant city?”
International Center of Photography will relocate to Essex Crossing in 2019
The Center is in contract to purchase two commercial condos at 242 Broome Street
BY TANAY WARERKAR/Curbed.com
The International Center of Photography has confirmed that it will be opening a new space at 242 Broome Street. The Center will consolidate the ICP Museum (currently at 250 Bowery) and the ICP School (in Midtown), all into nearly 40,000 square feet of space at 242 Broome.
The space will be divided between the two structures that make up the up 242 Broome Street condo building. The ICP will take up about 20,000 square in the shorter four-story structure that’s separated from the main condo building by a set of “soho stairs.” The remaining portion of the new ICP will be located at the base of the main building.
Why Photography Can’t Get Woke
The profession is pushing to bring in new voices, but it has a long way to go.
When Nikon Corp. hired 32 photographers to travel around Asia, the Middle East, and Africa, taking pictures to promote its new $3,300 D850 camera this fall, the Japanese camera company made sure to select people from different countries—more than a dozen, including India, Indonesia, Kuwait, South Africa, and Australia. Nikon also made sure the photographers specialized in diverse range of genres, from sports to wedding photography. But there was one glaring omission: All 32 of the people they chose were men.
This didn’t go over well with women—or photographers. “Guess they forgot to invite me?” tweeted conflict-zone photographer Lynsey Addario, whose work has appeared in National Geographic and Time, and who, ironically, is listed as one of Nikon’s so-called ambassadors in America. The BBC called Nikon sexist, while the popular photography website Fstoppers joked that maybe the D850 was designed purely for men. When I asked Nikon what happened, the company admitted that it hadn’t considered gender when selecting photographers. “This was an oversight and reflective of an industry-wide concern,” the company said in a written statement.
Image Storage: Image Search
One of the biggest problems in the photo world today is that we are being buried in photos.
InfoTrend estimates that consumers will take 1.2 trillion photos worldwide in 2017. The compound annual growth rate (CAGR) is 9%. This year 3,934,500,000,000 will be stored on hard drives and other formats worldwide.
Mylio.com has estimated that 5 billion of the 7.5 billion people in the world have mobile phones and that roughly 80% of those phones have a built-in camera. Thus, if each person took an average of 984 photos a year, or 2.7 a day they would reach the InfoTrend number.
Photographers trying to license rights to their photos can leave most of these huge numbers to the consumers to worry about. If they can’t find their own photos that’s their problem. However, PicturEngine.com tells us that they have collected over 900,000,000 unique photos from various stock photo agencies and individual photographers that are available for licensing.
How I Got That Shot: Shooting With Daylight And With Strobes For Fitness Campaigns
Christopher Malcolm was a screenwriter and director before he became a photographer, and when he plans his still shoots, he thinks about creating a narrative. As he thinks about his lighting, casting and locations, the Los Angeles-based photographer asks himself, “Who is the character and what’s the story I’m trying to tell? If I’m working for a client, I say: Who’s the buyer for the client, and what’s the story they want to learn?”